Musical Form By Ericsson Fung
Musical form is the overall structure or plan of a piece of music. In an organized piece of music an
idea grows from another and all parts are interrelated. We observe the form of the piece by
remembering the various parts and how each part relates, and through repeated listening the form
becomes clearer and takes on an emotional meaning.
Both in short and longer compositions there are essential techniques which create musical form;
these include repetition, contrast and variation.
Repetition
Musical repetition creates a sense of unity and appeals because of the pleasure we get in
recognizing and remembering. The repetition of melodies is widely used for binding compositions
together.
Contrast
Contrast provides variety and is created conflict, change of mood and opposition. The opposition of
loud and soft, strings and woodwinds, fast and slow and major and minor- all develop musical ideas.
Variation
In the variation of a musical idea some features will be retained while some will be altered. An
example would include; a melody might be altered with a different accompaniment, or pitch can be
the same while rhythm is changed, and vice versa. A whole composition can be created from one
idea with variations.
Types of Musical Form
Composers have traditionally organized musical ideas into forms or patterns. These allowed listeners
to respond more when they recognize these patterns.
Strophic Form
The Strophic form is the most simplest and durable of musical forms. It extends a piece of music by
repetition of a single formal section. This can be analysed as “A A A …” Many folk and popular songs
are in strophic form, including the twelve bar blues, hymns and chants.
Silent Night is an example of the Strophic Form
Binary Form
Binary form is a musical form in two related sections, both of which are usually repeated. In music
this is usually performed as A-B. A piece in binary form is characterized by two opposite, related
sections of roughly equal duration. The first section will start in a certain key, and will
usually modulate to a related key. Compositions in major keys will typically modulate to
the dominant, the fifth scale degree above the tonic. However compositions in minor keys will
typically modulate to the relative major
The second section of the piece begins in the new key, where it remains for a vague period of time.
After some harmonic activity, the piece will eventually modulate back to its original key before
ending. In 18th-century compositions, the A and B sections are sometimes separated by double
bars with repeat signs, meaning both sections were to be repeated.
Binary form is usually characterized as having the form AB, though since both sections repeat, a
more accurate description would be AABB. The rhythms and melodic ideas used will generally be
closely related in each section, and if the piece is written for a musical ensemble,
the instrumentation will generally be the same.
Occasionally, the B section will end with the return of the opening idea from the A section. This is
referred to as rounded binary, and is labelled as ABA′. In rounded binary, the beginning of
the B section is sometimes referred to as the "bridge”, and will usually end with a half cadence in
the original key
A Twinkle, twinkle little star, how I wonder what you are.
B Up above the world so high, like a diamond in the sky.
A Twinkle, twinkle little star, how I wonder what you are.
Ternary Form
The ternary form is a three-part musical form which is usually analyzed as A–B–A. The first and third
parts (A) are musically identical, while the second part (B) in some way provides a contrast with
them. The B section is generally in a contrasting key, usually the dominant key of the first
section's tonic or the relative key.
Commonly, the last section will feature more ornamentation than the first section. In this case the
last section is sometimes labeled A’ or A1 to indicate that it is slightly different from the first A
section
Rondo Form
In the rondo form, a main theme alternates with one or more contrasting themes, generally called
"episodes.” Possible patterns in the Classical period include: ABA, ABACA, or ABACADA. The number
of themes can vary from piece to piece.
The Baroque predecessor to the rondo was the ritornello. Ritornello form was used in the fast
movements of baroque concertos. The entire orchestra plays the main ritornello theme, while
soloists play the intervening episodes. While Rondo form is similar to ritornello form, it is different in
that ritornello brings back the main theme in fragments and in different keys, but the rondo brings
back its theme complete and in the same key.
Examples include the final movement of J.S. Bach's E Major Violin Concerto and the last movement
of Beethoven's Piano Sonata, Op. 13.
Sonata Form
The Sonata form is a large scale musical structure which was used widely since the early Classical
period. It is commonly used in the first movement of sonatas, string quartets or symphonies. The
Sonata form has 3 main sections:
The Exposition
The ideas and themes used are introduced in the exposition. It generally has two sections, the first
section is in the main key and the second section is in the key of the dominant or in the case of
minor keys; in the relative major or dominant key. Each section can have one or more themes. The
themes may be similar or contrasting. The exposition can also begin with an introduction.
The first and second section is connected using a transition. This transition modulates to the new
key. Composers such as Mozart and Beethoven sometimes experimented with other keys for the
second section.
The exposition ends with a codetta.
Haydn’s Sonata in G major, First theme introduced
The Development
The development section is the section which develops the main theme presented in the exposition.
The development section begins in the same key that the exposition ended and can move through
different keys during it. The development section will usually consists of one or more themes from
the exposition but will be altered and sometimes juxtaposed. New material or ideas can also be
included. The development can freely manipulate musical ideas evoking restlessness, drama and
surprise.
The development section varies in length from different pieces and sometimes it can be relatively
short compared to the exposition or even long and detailed. The tonic key will usually return in
preparation from the recapitulation.
The last part of the development section is the re transition, which prepares for the return of the
first subject group in the tonic.
Development section in Haydn’s Sonata in G major
Retransition in Haydn’s Sonata in G major
Recapitulation.
The recapitulation in sonata form will bring back the main themes, usually with one change- where
before the themes would be in contrasting keys, they will now be in the tonic key. Finally, the
movement will end with a coda.
Recapitulation section in Haydn’s Sonata in G major
Theme and Variation Form
'Theme and variation' forms are based specifically on melodic variation where the fundamental
musical idea or theme is repeated in an altered form or accompanied in a different manner. 'Theme
and variation' structure generally begins with a theme which is typically between eight and thirtytwo bars in length and each variation, particularly in music of the eighteenth century and earlier will
be of the same length and structure as the theme.
At the beginning of a movement, the theme is clearly stated. Each section after in the movement is a
variation on the theme. The variations may be as simple as a change in key or accompaniment, or a
complicated restatement of the theme which may not be recognizable. There may be any number of
variations on the theme. The end of the movement will have a coda.
Song Structure
The structures or musical forms of songs in popular music are generally repeating forms such as the
strophic form. Other common forms include thirty-two-bar form, verse-chorus form and the twelve
bar blues. This form can be used in any structural difference in melodies.
The foundation of popular music is the "verse" and "chorus". Both are essential fundamentals with
the verse usually played first. Each verse usually employs the same melody, while the lyrics usually
change for each verse. The chorus usually consists of a melodic and lyrical phrase which is repeated.
Pop songs may have an introduction and coda , but these elements are not essential to the identity
of most songs. Pop songs often connect the verse and chorus via a bridge, which as its name
suggests, is a section which connects the verse and chorus at one or more points in the song.
The verse and chorus are usually repeated throughout a song though the bridge, intro, and the coda
are usually only used once. Some pop songs may have a solo section, particularly in rock or blues
influenced pop. During the solo section one or more instruments play a melodic line which may be
the melody used by the singer or in blues or jazz influenced pop, the solo may be improvised based
on the chord progression.